Unsung Hero of a Real ‘Cover’ Story

For those of us who only seldom witness a Thoroughbred stallion in the throes of lust, hollering and snorting and shuddering, there's always a sense of awe at the primal energies harnessed by Nature to meet the reproduction imperative. Presumably, then, even nearly four decades of seeing the same thing repeated again and again–with another new covering season imminent–will never quite stifle that wonder, that privileged connection with the very wellspring of life, the constantly recurring miracle of creation.

Put this to Richard Barry, however, and he gives you a bit of a look.

So between the acknowledged dangers of the environment, the need for composure and vigilance and skill, he doesn't feel any of that stuff at all?

“No, I don't,” he says with a shrug. “I just want to get the horse to ejaculate. That's it.”

Ashford's vastly experienced stallion manager now offers a grin, as though to assure you that he can indulge such pretentious questioning in those who don't literally put their necks on the line every day. For those who need to keep the horses and their handlers safe, however, these daily “miracles” represent the precarious ritual on which rest quite incalculable stakes.

“That's it,” he repeats. “And get him out. It's a very serious business. You'll see the guys talking to each other, but they're always concentrating on what they're doing. There's millions of dollars transacted up there every week. But you can't be too intense, either, because the animals feel it. You have to be… I want to say relaxed, but you can't relax around them at all.”

So even with two Triple Crown winners on his current roster, extending a cavalcade of champion runners and sires over 38 years, Barry knows that the same flesh-and-blood unites every Thoroughbred, of every station, at the point where the blood is up, and the flesh tapers to lethal feet. He was still a young man, new to his vocation, when a shadow was cast that reaches to this day.

“I watched a guy die,” he says. “John McGuigan. I found him. And that wasn't in the breeding shed, he was bringing in mares and foals. One of the mares kicked him right over the heart and burst his aorta. That changed me. I give out to those guys up there, if ever I see them being lax.”

That was at the old Murty Farm, where Barry cut his teeth before his recruitment by Coolmore. A rather different program, no doubt, from the one that has since given Barry such responsibility at the very pinnacle of the commercial breeding industry. But it all contributed to his education, no less than the Connemara stallion owned by his aunt back in Co. Dublin.

“The village where I was brought up, Clondalkin, is now part of the city,” Barry says. “I couldn't find my way round Dublin if I tried now, it's gotten so big, but there were a number of small horse farms around the place when I was growing up and I must have been about 13 when I started hunting with the Co. Dublin Foxhounds. My aunt bred three-quarter-breds, stuff like that, she'd sell them on for show jumping. And then I used to ride out for a guy named Dave Blackford, he was a small trainer of jumpers round there. But I realized at an early age that I was never going to be a jockey, so I got onto the farm end of things.”

So it was that in 1978 Barry became one of countless young compatriots to have used the Irish National Stud course as the springboard for a job in Kentucky. At the time Wayne and Duane Murty stood the likes of Bold Ruler's son Top Command.

“Not big names, and I was more into mares and foals really,” Barry recalls. “When I first started that's what I wanted to do. I'd be lost now in a broodmare barn, veterinary work is so much more advanced: back in my time you palped them and hoped! Anyway I worked the stallion barn for the Murtys, I was always being pushed that way because they needed someone capable of handling them.”

And, actually, that was pretty much how he came to be hired by Coolmore: he was 28, strong and fearless, and equal to a feisty young stallion.

“They had Storm Bird here at the time,” he explains. “He was a bit of a boy and they needed someone to handle him. So I hired on here as stallion manager in 1985. That was the year he had Storm Cat running from his first crop. He finished second [by a nose to Tasso] in the Breeders' Cup Juvenile, if he'd won he was gone to Japan.”

What dynasties Barry has helped to establish since then! He has worked on the most intimate scale imaginable with some of the great patriarchs of the modern breed. And while the essence of the whole job could not be more timeless, his career has meanwhile spanned sophisticated advances in the workplace: from veterinarian input to ventilation.

“The breeding shed alone,” he agrees. “It's a castle compared to what we had when I came here. A black metal shed, and if it was 80 degrees outside it was 100 in the shed. Forty mares was a full book when I started, but we were still as busy then as we are today, because we were breeding the same mare maybe three times in a heat cycle.”

Besides Storm Bird, Barry started out with El Gran Senor–a horse he still cherishes as much as any since under his care.

“He was with me the longest, and an absolute pet,” he says affectionately. “Never gave me any trouble. Apart from the fact that he had a fertility problem! But he was a grand horse, gorgeous, I loved him. He was the opposite of Storm Bird, a child could handle him. Then Woodman came over the June of the first year we were here, he was much the same.

“Seattle Dancer was pretty quiet, too, though he was a funny horse. He'd keep you in the shed an hour in the morning. Yet by the evening, last mare of the day, he was an antichrist, he'd be coming in that door gangbusters. But he wasn't a morning person at all. Afternoon and evening, 35 seconds he'd be in and out, but mornings you had to let him figure it out. That's just the way he was.”

Such are the priceless insights obtained through daily proximity into the humble, animal qualities that accompany equine greatness, be it achieved on the track or off it. And it's that intimate bond, horseman to horse, that is key to this job: figuring out what makes each stallion tick as an individual, with all his quirks and insecurities.

The layman will often hear traits associated with the stock from particular lines. “But at one time we had eight grandsons of Storm Bird standing up there, and I only had one bad actor among them all,” Barry reflects. “And he wasn't that bad as far as I was concerned. He was tough, put it that way. Some of the others were tough too, but they were quiet animals.

“You're going to get some bad horses. But there are very few that are born mean. Generally they're pretty quiet. I've had horses come in here with warnings and they're quiet as lambs. They don't come in to be mean, so you don't make them mean.  You've got horses like Thunder Gulch, Dehere, [American] Pharoah, you raise your voice you'd hurt their feelings. But you've also got horses–like Storm Bird himself, Black Minnaloushe was another–they would get you if you gave them half a chance. Storm Bird got everybody that worked with him, including me: got me right there on the shoulder one night in the breeding shed.”

But remember that Barry did not “start” that horse, who was already seven when he took him on.

“You can train an animal to do just about anything,” he insists. “All it takes is patience. They're all different. And every mare is different, too. Treat people as you find them, and horses the same.”

Nor is it as though a particular disposition, for good or ill, denotes any kind of genetic potency.

“Otherwise we'd all be breeding for a certain type of temperament,” Barry notes. “As it is, you had Halo, a renowned bad actor and a very successful stallion. And you have others without a mean bone in their body. Munnings, nobody expected him to turn into what he has, he's as quiet as a lamb. Giant's Causeway was okay. He was tough, not a horse that liked to be messed with: a 'manly' horse, that's the word. Though he hated the needle, absolutely despised it!”

Given the vivid theater of the breeding shed, and the inferences available from human experience, there is one aspect of a stallion's temperament guaranteed to invite curiosity: libido.

Barry witnessed the notorious celibate tendencies of Seattle Slew when he took boarding mares from Murty Farm to Spendthrift. “I was in the shed one day with him and three other mares and the teaser, and we all went home without getting bred,” he says. “It was a nightmare. And yes, you do get your horses that are slow to breed, absolutely. Sometimes I send them up to the broodmare barn and let them live with the mares a couple of weeks, it can just get them going. They all have their trigger. Ninety percent of them, though, once they figure out what you want them to do, they're good to go. Especially when they're young, they're like teenagers, there's no stopping them once they get into it: they forget about racetrack and everything else.”

So come on then, tell us: who was the most ardent lover of them all?

“Shanghai Bobby jumps to mind,” Barry replies. “You'd open the doors and through he came, and you'd better have that the mare ready. He went straight to that mare and bred her and was walking out before you had the chance to close the doors after him. He'd keel over before he'd refuse a mare. He's the only horse I've ever been around that got so excited that he forgot to ejaculate! But a lovely horse.”

But if there are many moments of humor, Barry and his team never lose sight of the fact that things can go badly wrong if you drop your guard.

“Yes, and very quickly,” he says. “So we all look out for each other. Horses can get tired, and men too. You have to trust the guy next to you. There are three of us here who've been together for years, and the young fellers just switch in and out. And with time we will each of us get like 'that' with particular horses.”

He entwines his fingers to show the tightness of that bond.

“It's all training,” he emphasizes. “If you can start a horse, it's constant training until they don't know any different. All those stallions up there, we've had since they were 4-year-olds, or backend 3-year-olds. They know they're supposed to do what they're told, and that's it, there's no grey area. It's attitude. And it's the same with the guys, over the years I've trained most of them up. The guy that's running the place now was a kid when he came in here. And all that makes me feel lucky in the job I have. Office work and all that, they can keep. I do what I do. I like hands on a horse.”

The post Unsung Hero of a Real ‘Cover’ Story appeared first on TDN | Thoroughbred Daily News | Horse Racing News, Results and Video | Thoroughbred Breeding and Auctions.

Source of original post

Consignor, Pinhooker Jerry Bailey Passes Away at 78

Jerry Bailey, whose varied career in the sport included stints as a veterinarian, breeder, owner, pinhooker and consignor, passed away Dec. 17 due to complications from pneumonia after a bout with COVID-19. He was 78.

Bailey started out on the racetrack as a veterinarian and took a position as the resident veterinarian for E.K. Gaylord's Lazy E Ranch in Oklahoma, later adding the role of general manager to his duties.

He moved to Florida in the late eighties and partnered with Ken Ellenberg to start Bailey Ellenberg Select, a partnership that focused on pinhooking. Ellenberg and Bailey bought eventual 1995 Grade I Kentucky Derby winner Thunder Gulch (Gulch) for $40,000 at the Keeneland July yearling sale with the intent to sell him a year later. They had a $125,000 reserve on him at the Keeneland April sale as a 2-year-old, but the bidding stopped at $120,000. After selling a 50% interest in him to Howard Rozin, they campaigned Thunder Gulch through his first three career starts before selling him privately to Michael Tabor.

Bailey would later partner with Lance Robinson, and the two started Gulf Coast Farms. It was another pinhooking operation, but they also got involved in breeding. Their biggest success story as a breeder was Lookin at Lucky (Smart Strike). Consigned by Bailey, he was sold for $475,000 as a 2-year-old at the Keeneland April sale. The winner of the 2010 GI Preakness S., he was named champion 2-year-old in 2009 and champion 3-year-old in 2010.

Bailey was involved with many top horses over the years. He consigned Grade I winners Honour and Glory (Relaunch), Deputy Commander (Deputy Minister), Henny Hughes (Hennessy) and Dubai Escapade (Awesome Again). Dubai Escapade sold for $2 million at the 2004 Barretts 2-year-old sale.

About 10 years ago, Bailey retired from the Thoroughbred game and moved back to his native Oklahoma. While there, he focused on roping competitions.

“Roping to him was what golf is to others,” said his widow, Leslie. “He roped every day there was. He just won a roping competition about five days before he came up sick.

“He was most proud of our success in the Thoroughbred business, his ability to pick out an individual, an athlete, and all his achievements in roping.”

The post Consignor, Pinhooker Jerry Bailey Passes Away at 78 appeared first on TDN | Thoroughbred Daily News | Horse Racing News, Results and Video | Thoroughbred Breeding and Auctions.

Source of original post

Derby Winner Losing To A Stablemate? It’s Happened Before

Once uncommon, Kentucky Derby (G1) winners have run against stablemates more often in the Preakness Stakes (G1) in recent years.  It is likely to happen again Saturday when Bob Baffert trainees Medina Spirit and Concert Tour are scheduled to face each other at Pimlico Race Course in Baltimore, Md.

Zedan Racing's Medina Spirit quickly grabbed the lead in the Derby on May 1 and held on to finish first by a half-length in an exciting four-horse finish. Concert Tour was at Churchill Downs that day, too, but he was in his stall, a few hundred yards from the finish line. Baffert and owner Gary West had decided not to enter him in the race after he had finished a disappointing third in the Arkansas Derby (G1) on April 10.

If Medina Spirit and Concert Tour are in the Preakness starting gate, it will be the seventh time since 1970, the second year in a row, and the third time in seven runnings that the Derby winner has to face a stablemate in the Middle Jewel of the Triple Crown.

Just once, in 1995, did the stablemate prevail in Baltimore and short-circuit a potential Triple Crown: Timber Country, trained by D. Wayne Lukas, beat Lukas' Derby winner Thunder Gulch.

Baffert has been involved in the two most recent clashes. American Pharoah took another step toward the Triple Crown in 2015 beating Dortmund and six others in the Preakness. Dortmund had finished third in the Derby. In the pandemic-delayed Preakness last October,

Derby winner Authentic was second by a neck to the filly Swiss Skydiver, well ahead of his stablemate Thousand Words, who was eighth. Thousand Words was scratched from the Derby after he acted up while being saddled in the paddock.

Baffert said he often runs two or three horses in races in California and doesn't think twice about having stablemates in major stakes.

“I just give everybody a chance, and that's the way it goes,” Baffert said. “Gary West, with Concert Tour, he left it up to me. They send me these horses, and I'm giving them the best chance to win. They're both doing really well, so why not? They both might cook each other up on the lead or whatever. You never know what's going to happen. But they're both doing well, and I want to give them the opportunity to run.

“Sometimes you hate to run two horses. But I'm trying to win the race and give the owners an opportunity. But Medina has a lot of Silver Charm (his first Derby and Preakness winner in 1997) in him. He's a fighter. So you don't know what's going to happen. I think the draw and the break are critical. I've gone up there with speed horses and they miss the break. A lot can go wrong at Pimlico, and it's a deeper kind of track, too.”

In 1998, Baffert was considering running Indian Charlie back against his Derby winner Real Quiet, but decided not to because he didn't like the way Indian Charlie looked to him that week.

Todd Pletcher, whose election to the Hall of Fame was announced on May 5, saddled his 2010 Derby winner Super Saver and Aikenite in the Preakness. Aikenite had not competed in the Derby. Super Saver ended up eighth, two spots ahead of Aikenite.

Lukas brought two horses to the 1999 Preakness, Charismatic, his 31-1 Derby winner, and Cat Thief, who was third at Churchill Downs at 7-1. Charismatic won again, this time at 8-1, and Cat Thief was seventh at 5-1.

Thunder Gulch was 24-1 in the wagering when he won the 1995 Derby, while the 3-1 favorite Timber Country was third, some 2½ lengths back. Two weeks later in the Preakness, Timber Country won the Preakness as the 9-5 favorite and Thunder Gulch was third as the 7-2 third choice.

Lukas, who will saddle Ram in the Preakness Saturday, said this week that his mission is to run his horses where they belong, giving owners an equal chance at success, and cited the 1995 Preakness.

“As a trainer you get to look at them individually,” he said. “Thunder Gulch wins the Kentucky Derby. He comes in here and I should have been all over trying to get him to the Triple Crown. He wins the Belmont, as it turned out. We could have made history. Nobody had won it in (20) years at that time. Yet we go in here and our own horse beats him.”

Lukas said he has never second-guessed his decision to run Timber Country and Thunder Gulch at Pimlico.

“No, I didn't regret winning the Preakness in any way, shape or form,” he said. “And I don't regret it now. I'd do the same thing again.”

The afternoon before the Belmont Stakes, Timber Country, the 6-5 morning line favorite, was scratched from the race because he had spiked a fever. Thunder Gulch won the Belmont, giving Lukas his fifth-consecutive victory in a Triple Crown race, and sweep of that year's series, but with different horses.

Lukas extended his unprecedented streak in the Triple Crown to six-straight with Grindstone's narrow win in the Derby. A few days later he was found to have a career-ending leg injury. Lukas' stable was very deep and he saddled three horses in the Preakness, but his top finisher was third-place Editor's Note, who later won the Belmont.

The first of the Derby winners versus stablemates in the Preakness in the last 50 years was in 1976, Trainer Laz Barrera won the Kentucky Derby with Bold Forbes upsetting the 2-5 favorite Honest Pleasure. In the Preakness, Barrera saddled the entry of Bold Forbes and Illinois Derby (G3) winner Life's Hope. Elocutionist prevailed at 10-1 after Bold Forbes and Honest Pleasure engaged in a speed duel. Bold Forbes finished third, Honest Pleasure was fifth and Life's Hope, a closer who did not benefit from the fast pace, was last of the six.

Baffert's assistant Jimmy Barnes, who is handling the Preakness runners this week, said there is no hesitation about having Concert Tour face Medina Spirit.

“Sure, we want a Triple Crown every time,” he said. “But Concert Tour didn't get his chance in the Derby, so this is his chance to shine. You've got to give them all a fair shot. The best horse will win.”

The post Derby Winner Losing To A Stablemate? It’s Happened Before appeared first on Horse Racing News | Paulick Report.

Source of original post

This Side Up: Arc of Achievement Unites Brant and Mellon

When Ettore Sottsass was asked which of his many diverse achievements had given him most satisfaction, he gave a shrug. “I don’t know,” he said. “Life is a permanent project. It’s a passage from one thing to another.”

The Italian designer and architect transcended disciplines in a fashion not dissimilar to his compatriot Federico Tesio, whose singular genius was as stimulated by his furniture workshop as by his breed-shaping stud farm.

And there’s a corresponding breadth of engagement to the man who wrote to the widow of Sottsass, asking permission to honor his memory with a Siyouni (Fr) yearling he had bought at Deauville in 2017. Peter Brant has assembled his stable with the same curator’s eye as he has his art collection; and the same quixotic awareness that no masterpiece can ever achieve perfection, can ever fully requite the yearnings that sustain his twin passions.

The success of Sottsass (Fr) in the G1 Qatar Prix de l’Arc de Triomphe on Sunday was certainly a masterpiece, in the technical craft of his trainer Jean-Claude Rouget. And it belongs in the same gallery as Brant’s unique achievement in breeding a GI Kentucky Derby winner, Thunder Gulch (Gulch), as well as his sire and dam. Already, however, the project has its next passage, with Sottsass now starting a new career at Coolmore.

For just as the work of Renaissance masters has far outlasted the span of any human life–creators, preservers, collectors–so our own humble endeavors, from one generation of horsemen to the next, will endure in the genetic complexion of the breed, as recorded across the centuries in the Stud Book.

Brant is rightly proud that Thunder Gulch, winner of the definitive test in dirt racing, was delivered by a mare imported from Europe. The obvious, reciprocal challenge would now be to breed a dirt champion by his Arc winner.

Asked this week whether that is something he’d like to attempt, someday, Brant gave a chuckle.

“Someday?” he said. “Try, like, three or four months from now. I mean, sure. That doesn’t mean I have to be right. I was right once, doesn’t mean I’ll be right doing it again. But I’m certainly going to try.”

With the far-sightedness that has sustained his business empire–not least in adapting to the wild societal changes eroding demand for its original base, newsprint–Brant absolutely grasps the vitality available in dismantling perceived barriers between the transatlantic gene pools. It’s often been done before, after all, not least in the transformative impact of Northern Dancer’s speed-carrying dirt blood on European Classic racing.

Brant bought Shoot a Line (GB) (High Line {GB}) after seeing her finish a plucky second to the great Ardross (Ire) in the 1981 Gold Cup at Royal Ascot, over two and a half miles, and had her covered by Northern Dancer’s son Storm Bird. The resulting filly, Line of Thunder, was sent to Luca Cumani in Newmarket.

“She was a classic-looking, old Thoroughbred type,” Brant recalled. “And what happened is history. I bred her to Gulch, who won the Met Mile twice and the Breeders’ Cup Sprint. He could carry his speed, he was third in the Belmont Stakes and ran second to Personal Ensign in the Whitney, but going a mile-and-a-quarter, mile-and-a-half, was really not his thing. He was a very fast, very sturdy horse. And from Line of Thunder he got Thunder Gulch.”

On the same basis, Brant made sure that his White Birch Farm recruited staying females from the Weinstock dispersal and also the Wildenstein sale.

“A lot of times you’ll go to sales in Kentucky and they’ll say: ‘That’s a grass horse, you don’t want that, we want to win dirt races,'” he remarked. “But I believe that staying blood is very important, if you want to win any of those Classic-type races, from a mile up to a mile-and-a-half. You definitely need speed as well, because often they are a product of pace: sometimes no pace, sometimes too great a pace. It’s the ability to quicken that is so important.

“But so many stallions had great speed–horses like War Front, maybe a horse like Constitution–and if you breed speed to them you’re going to have trouble in those middle-distance races. I believe you need to get some Classic blood in there with it. Yes, a lot of times you’ll breed to a stayer, and the progeny goes more towards the female and you’re out of luck. But you do need a combination. Especially over two or three generations, you need that classy staying blood somewhere.”

Sottsass himself, of course, is by a fast horse in Siyouni (Fr) out of a Galileo (Ire) mare. Up until Sunday, Brant confesses, he had wondered whether the colt’s optimal range might fall short of the Arc distance. But the demands of the race on the day–not especially strongly run, perhaps, but calling for unyielding dynamism through heavy ground–actually showcased assets that may combine well with dirt-bred mares; and, someday, give Sottsass some traction as a crossover influence.

As is well known, this is Brant’s “second time round” on the Turf. But his ardour for the Arc traces back to his earliest enthusiasm. His heart was first won by weight-carrying New York stalwarts like Kelso and Carry Back, so he knew of the latter’s fish-out-of-water bid for the 1962 Arc. What really brings things full circle, however, is that his first personal experience of the race came nine years later, when Paul Mellon–whose aesthetic sensibilities similarly found a common margin between art and the Thoroughbred–became the first American to own the winner.

Though still in his early 20s at the time, Brant was in Paris to produce “L’Amour,” a minor cult movie by Andy Warhol and Paul Morrissey. (He collaborated with Warhol on many projects and his publishing stable still includes Interview, a magazine founded by the pioneering artist in 1969.) Finding himself in a café one Saturday afternoon, Brant noticed the racing from Longchamp on a television in the corner. He realized that the Arc was the next day, and resolved to head out to the Bois de Boulogne.

So it was that he saw Mill Reef beat the wonderful French filly, Pistol Packer, with Caro (Ire)–subsequently such an important stallion at Spendthrift–fourth.

Europe’s championship race, then, is woven into some of the defining strands of his life: some tracing to those heady years in the vortex of the Beat Generation; others, to the Parisian fashion community that long worshipped his wife, the model Stephanie Seymour.

“‘L’Amour’ was a great, low-budget film that did very well, and is still kind of a classic today,” Brant said. “And, yes, we had a lot of fun. It was wonderful moment. As a matter of fact, one of the stars in that movie was Karl Lagerfeld, who became the big designer for Chanel. At that time he was working for Chloé, the Paris fashion house, so there were a lot of fashion people in the film.”

Not that Brant could ever get Warhol interested in the Turf. His cousin, Joe Allen, who bred War Front, was also friendly with Warhol and commissioned him to do a portrait of his very first racehorse, an ex-claimer. And the Wertheimer family asked him to depict Ivanjica, their 1976 Arc winner–a work you will today find in the office of a certain Kentucky farm owner, of similarly rare discernment.

“I’m not sure how thrilled the Wertheimers might have been, at the time, with his Ivanjica,” Brant noted wryly. “Andy’s way of doing those portraits was to take a polaroid, and then silk-screen it, and paint over that. Now even the new book about President Carter has Andy’s portrait on the front. He was always way ahead of his time.”

Brant has always tried to be one step ahead, too, having seen repeatedly how the establishment eventually adopts the avant-garde. But he rebukes any assumption that Mellon–whose foundation of the Yale Center of British Art accommodated much sporting art of the old school–was merely anglophile and conservative in his tastes.

“He might have been interested in Stubbs, but that would have been because of his interest in horses,” Brant explained. “But he was a great collector, of all periods; all the way through the 20th Century from Cezanne to abstract expressionists like Mark Rothko.”

In Mellon, with whom he served on the board of the racing museum in Saratoga, Brant could admire an exemplar of philanthropic capitalism. Like Mellon, of course, Brant has also stabled horses with master horsemen on both sides of the Atlantic; and Sottsass has now made a significant new contribution to the tradition, long associated with Mellon, of Americans embracing European grass racing and its bloodlines. Both on and off the Turf, then, there is a very direct cultural succession between the owners of Mill Reef and Sottsass.

Certainly last weekend was a vivid consummation of Brant’s return to the sport and, while there was a bittersweet element in not being able to travel to Paris, that did not diminish the delirium as he watched the race with his wife at their Connecticut home.

“You know something, I can’t say I would have had any better a time anywhere else,” he said. “We were yelling and screaming so much, it felt like the house was shaking. I just couldn’t believe this dream had come true.”

Brant says that he never goes into any race with confidence, but Ger Lyons had given him plenty of hope after taking responsibility for the horse, with Rouget confined to France by COVID restrictions, for his prep run in Ireland.

“After that race Ger said: ‘Your horse is going to run terrific in the Arc,'” Brant explained. “The instructions [from Rouget] were to make sure the horse would be tighter for the Arc, and that was the way [jockey Colin] Keane rode. Jean-Claude had really been pointing at the Arc from the beginning of the year. I think that speaks very well of the trainer, and very well of the race. If you really want to win the Arc, you can’t have anything else on your mind. You can’t say, ‘Well, we’ve run well here, let’s go the Arc.’ You can’t go as an afterthought, and if you make a mistake along the road you probably won’t be winning. It’s so gruelling, both in the conditions you might get and the field. That’s why I feel it would be very hard to do better than winning this race.”

But there are always new horizons, with horses no less than in art.

“Winning a race, any race, you figure that you are pretty close to achieving some kind of perfection,” Brant mused. “But you will always get beat more than you win. It’s a great game, and a fantastic passion for a lot of people: these wonderful, noble animals. Like art, it’s all about that passion. Because that’s what you really need, for it to be fun and for it to be successful.

“Right now, I’m feeling very good that I can take the decision to retire Sottsass in one piece, sound in wind and bone, and not looking like he’s come back from the war. He’s going to stud in the way he deserves.”

Breeding, of course, is a long game; and Brant espouses the long view. He urges optimism, even in such disturbed and disturbing times. Yes, he is dismayed to see responsible journalism swamped by the trash-talk of social media, not least from a boyhood friend he can no longer recognize in the Oval Office.

“But I’m very optimistic,” Brant insisted. “I hope we will soon be able to look on all this in retrospect. In the meantime, people have to be vigilant: listen to science; wear masks, isolate, trace. But I think we’re going to have learned a lot, especially about leadership, from this whole experience.”

If the fate of newsprint is one eloquent measure of a changing world, then so is that of typewriter. The classic machines he designed for Olivetti helped to make the name of Ettore Sottsass. But even as the world changes, genius abides. Sottsass urged that various disciplines were only separated by technique; that all design reflects your ideas about life, about individuals and society. It didn’t matter whether you were making a glass vase or a photograph.

So let’s celebrate the fact that an American, in 2020 as in 1971, has seen through artificial distinctions–between dirt and turf, speed and stamina, Europe and America–and reminded us all of the transferable essence of a great Thoroughbred. The “permanent project,” in horses and horsemen alike, is class. And, though our world may constantly be changing, it is surely a better place for the legacy of a man like Mellon; and, likewise, for the one now being cultivated by Peter Brant.

 

The post This Side Up: Arc of Achievement Unites Brant and Mellon appeared first on TDN | Thoroughbred Daily News | Horse Racing News, Results and Video | Thoroughbred Breeding and Auctions.

Source of original post

Verified by MonsterInsights